The Sense of Beauty, George Santayana [e ink epub reader .txt] 📗

more definite than that it is the embodiment of an infinite good. For it is that incommunicable and illusive excellence that haunts every beautiful thing, and

          like a star
     Beacons from the abode where the eternal are.

For the expression of this experience we should go to the poets, to the more inspired critics, and best of all to the immortal parables of Plato. But if what we desire is to increase our knowledge rather than to cultivate our sensibility, we should do well to close all those delightful books; for we shall not find any instruction there upon the questions which most press upon us; namely, how an ideal is formed in the mind, how a given object is compared with it, what is the common element in all beautiful things, and what the substance of the absolute ideal in which all ideals tend to be lost; and, finally, how we come to be sensitive to beauty at all, or to value it. These questions must be capable of answers, if any science of human nature is really possible. — So far, then, are we from ignoring the insight of the Platonists, that we hope to explain it, and in a sense to justify it, by showing that it is the natural and sometimes the supreme expression of the common principles of our nature.

PART I

THE NATURE OF BEAUTY

The philosophy of beauty is a theory of values.

§ 1.  It would be easy to find a definition of beauty that should give in a few words a telling paraphrase of the word. We know on excellent authority that beauty is truth, that it is the expression of the ideal, the symbol of divine perfection, and the sensible manifestation of the good. A litany of these titles of honour might easily be compiled, and repeated in praise of our divinity. Such phrases stimulate thought and give us a momentary pleasure, but they hardly bring any permanent enlightenment. A definition that should really define must be nothing less than the exposition of the origin, place, and elements of beauty as an object of human experience. We must learn from it, as far as possible, why, when, and how beauty appears, what conditions an object must fulfil to be beautiful, what elements of our nature make us sensible of beauty, and what the relation is between the constitution of the object and the excitement of our susceptibility. Nothing less will really define beauty or make us understand what aesthetic appreciation is. The definition of beauty in this sense will be the task of this whole book, a task that can be only very imperfectly accomplished within its limits.

The historical titles of our subject may give us a hint towards the beginning of such a definition. Many writers of the last century called the philosophy of beauty Criticism, and the word is still retained as the title for the reasoned appreciation of works of art. We could hardly speak, however, of delight in nature as criticism. A sunset is not criticised; it is felt and enjoyed. The word "criticism," used on such an occasion, would emphasize too much the element of deliberate judgment and of comparison with standards. Beauty, although often so described, is seldom so perceived, and all the greatest excellences of nature and art are so far from being approved of by a rule that they themselves furnish the standard and ideal by which critics measure inferior effects.

This age of science and of nomenclature has accordingly adopted a more learned word, Aesthetics, that is, the theory of perception or of susceptibility. If criticism is too narrow a word, pointing exclusively to our more artificial judgments, aesthetics seems to be too broad and to include within its sphere all pleasures and pains, if not all perceptions whatsoever. Kant used it, as we know, for his theory of time and space as forms of all perception; and it has at times been narrowed into an equivalent for the philosophy of art.

If we combine, however, the etymological meaning of criticism with that of aesthetics, we shall unite two essential qualities of the theory of beauty. Criticism implies judgment, and aesthetics perception. To get the common ground, that of perceptions which are critical, or judgments which are perceptions, we must widen our notion of deliberate criticism so as to include those judgments of value which are instinctive and immediate, that is, to include pleasures and pains; and at the same time we must narrow our notion of aesthetics so as to exclude all perceptions which are not appreciations, which do not find a value in their objects. We thus reach the sphere of critical or appreciative perception, which is, roughly speaking, what we mean to deal with. And retaining the word "aesthetics," which is now current, we may therefore say that aesthetics is concerned with the perception of values. The meaning and conditions of value is, then, what we must first consider.

Since the days of Descartes it has been a conception familiar to philosophers that every visible event in nature might be explained by previous visible events, and that all the motions, for instance, of the tongue in speech, or of the hand in painting, might have merely physical causes. If consciousness is thus accessory to life and not essential to it, the race of man might have existed upon the earth and acquired all the arts necessary for its subsistence without possessing a single sensation, idea, or emotion. Natural selection might have secured the survival of those automata which made useful reactions upon their environment. An instinct of self-preservation would have been developed, dangers would have been shunned without being feared, and injuries revenged without being felt.

In such a world there might have come to be the most perfect organization. There would have been what we should call the expression of the deepest interests and the apparent pursuit of conceived goods. For there would have been spontaneous and ingrained tendencies to avoid certain contingencies and to produce others; all the dumb show and evidence of thinking would have been patent to the observer. Yet there would surely have been no thinking, no expectation, and no conscious achievement in the whole process.

The onlooker might have feigned ends and objects of forethought, as we do in the case of the water that seeks its own level, or in that of the vacuum which nature abhors. But the particles of matter would have remained unconscious of their collocation, and all nature would have been insensible of their changing arrangement. We only, the possible spectators of that process, by virtue of our own interests and habits, could see any progress or culmination in it. We should see culmination where the result attained satisfied our practical or aesthetic demands, and progress wherever such a satisfaction was approached. But apart from ourselves, and our human bias, we can see in such a mechanical world no element of value whatever. In removing consciousness, we have removed the possibility of worth.

But it is not only in the absence of all consciousness that value would be removed from the world; by a less violent abstraction from the totality of human experience, we might conceive beings of a purely intellectual cast, minds in which the transformations of nature were mirrored without any emotion. Every event would then be noted, its relations would be observed, its recurrence might even be expected; but all this would happen without a shadow of desire, of pleasure, or of regret. No event would be repulsive, no situation terrible. We might, in a word, have a world of idea without a world of will. In this case, as completely as if consciousness were absent altogether, all value and excellence would be gone. So that for the existence of good in any form it is not merely consciousness but emotional consciousness that is needed. Observation will not do, appreciation is required.

Preference is ultimately irrational.

§ 2. We may therefore at once assert this axiom, important for all moral philosophy and fatal to certain stubborn incoherences of thought, that there is no value apart from some appreciation of it, and no good apart from some preference of it before its absence or its opposite. In appreciation, in preference, lies the root and essence of all excellence. Or, as Spinoza clearly expresses it, we desire nothing because it is good, but it is good only because we desire it.

It is true that in the absence of an instinctive reaction we can still apply these epithets by an appeal to usage. We may agree that an action is bad, or a building good, because we recognize in them a character which we have learned to designate by that adjective; but unless there is in us some trace of passionate reprobation or of sensible delight, there is no moral or aesthetic judgment. It is all a question of propriety of speech, and of the empty titles of things. The verbal and mechanical proposition, that passes for judgment of worth, is the great cloak of ineptitude in these matters. Insensibility is very quick in the conventional use of words. If we appealed more often to actual feeling, our judgments would be more diverse, but they would be more legitimate and instructive. Verbal judgments are often useful instruments of thought, but it is not by them that worth can ultimately be determined.

Values spring from the immediate and inexplicable reaction of vital impulse, and from the irrational part of our nature. The rational part is by its essence relative; it leads us from data to conclusions, or from parts to wholes; it never furnishes the data with which it works. If any preference or precept were declared to be ultimate and primitive, it would thereby be declared to be irrational, since mediation, inference, and synthesis are the essence of rationality. The ideal of rationality is itself as arbitrary, as much dependent on the needs of a finite organization, as any other ideal. Only as ultimately securing tranquillity of mind, which the philosopher instinctively pursues, has it for him any necessity. In spite of the verbal propriety of saying that reason demands rationality, what really demands rationality, what makes it a good and indispensable thing and gives it all its authority, is not its own nature, but our need of it both in safe and economical action and in the pleasures of comprehension.

It is evident that beauty is a species of value, and what we have said of value in general applies to this particular kind. A first approach to a definition of beauty has therefore been made by the exclusion of all intellectual judgments, all judgments of matter of fact or of relation. To substitute judgments of fact for judgments of value, is a sign of a pedantic and borrowed criticism. If we approach a work of art or nature scientifically, for the sake of its historical connexions or proper classification, we do not approach it aesthetically. The discovery of its date or of its author may be otherwise interesting; it only remotely affects our aesthetic appreciation by adding to the direct effect certain associations. If the direct effect were absent, and the object in itself uninteresting, the circumstances would be immaterial. Molière's Misanthrope says to the court poet who commends his sonnet as written in a quarter of an hour,

     Voyons, monsieur, le temps ne fait rien à l'affaire,

and so we might say to the critic that sinks into the archaeologist, show us the work, and let the date alone.

In an opposite direction the same substitution of facts for values makes its appearance, whenever the reproduction of fact is made the sole standard of artistic excellence. Many half-trained observers condemn the work of some naïve or fanciful masters with a sneer, because, as they truly say, it is out of drawing. The implication is that to be correctly copied from a model is the prerequisite of all beauty. Correctness is, indeed, an element of effect and